Here the realm of knowledge-giving silence is reached, from where the truthful artist creates music for his own sake as well as for the sake of his listeners; for his own sake, because this kind of natural creativity means an upsurge of inner bliss within the artist himself, and for the sake of the listener, because within the listener, too, the experience of such natural, inner human activity is evoked which brings happiness and joy.

The listener then succeeds in getting a glimpse of the potential of natural, inner human evolution; and the desire to gain mastery over this happiness-giving field of life naturally awakens within him.

This starting point of inner human creativity, in which tonality and rhythm are fused into unity, is the very beginning of music.

This beginning without end is structured in the consciousness of the listener by the musical integration of unbounded space with infinite time, and a mental state of suspension is attained: an expression of twofold unboundedness.
Here lies the seed of man’s love of music - of man’s love of life.

Thus, rhythm is not at all the means for the isolated structuring of time in a composition, but according to the much more sophisticated views just outlined, rhythm is the only appropriate means for the glorification of space.

On the other hand, tonality is not an isolated musical parameter but the only appropriate means for the glorification of time.

This is the explanation for the intimate union of space and time in music.